How to Write Action/adventure Novels PDF Download

Author: Michael Newton
Publisher: Writers Digest Books
ISBN: 9780898793581
Category : Fiction
Languages : en
Pages : 159

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Author: Ray Mesluk
Publisher: Productive Publications
ISBN: 155270646X
Category : Adventure stories
Languages : en
Pages : 316

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Author: Nader Elhefnawy
Publisher: Nader Elhefnawy
ISBN:
Category : Literary Criticism
Languages : en
Pages : 229

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Book Description
We are all familiar with the idea of the action hero as a latterday avenger with a gun—Dirty Harry, Chuck Norris' screen heroes, Rambo. Yet, how did the idea of such heroes emerge in the first place? Why did it explode as it did in the 1970s and, still more, the 1980s, defining the Hollywood action films of that decade? And why did it fall out of fashion? PARAMILITARY ACTION-ADVENTURE FICTION: A HISTORY examines all these questions, and much more, as it traces the rise of paramilitary action heroes in the tensions and fears underlying the civil image of the nineteenth century, through the stresses of the world wars and the Cold War, to the emergence by the 1960s of commandos fighting undeclared wars on the streets of urban America—and the evolution of that image in the half century since.

Author: Harry Jay
Publisher: Createspace Independent Pub
ISBN: 9781481912556
Category : Fiction
Languages : en
Pages : 406

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Book Description
Action Adventure - The Writing of the Wrong is the sequel novel to the action adventure novel "No Crimes Beyond Forgiveness." Forgiveness - the secret government within a government - is dead; killed by the giant, Joshua Olivion. High in the Sierra Madre mountains in Central California, a forest ranger attempts to sneak up on Joshua and his wife, Angela as they campout on their annual fishing trip. Caught by the giant - his senses finely honed - the ranger brings ominous news. General Taylor has been trying to find Joshua and as the forest ranger relays Joshua's coordinates, Joshua and Angela watch pensively as Taylor exits his helicopter and reveals a new enemy - one that is stalking his son, Chad and Chad's family. Is this payback? Is this revenge? Or is it a copycat organization of the secret committee Forgiveness? Joshua decides to go look for himself but Angela sees the giant stirring and so does Taylor. Soon it will awaken and turn the Middle East into a boiling cauldron...real soon! The Writing of the Wrong is a publisher book brought to you by ePubWealth.com. It is the fourth book in a series of 6 online fiction novels involving Joshua's post-war life. You may download books online and enjoy the complete series: Common Ground, Until the Next Time, No Crimes Beyond Forgiveness, The Writing of the Wrong, We Own the Night, and Who Hoards More Thieves or Popes. Read a novel online and enjoy all of ePubWealth's fiction books online with a wide selection in many different genres.

Author: Tom Monteleone
Publisher: Penguin
ISBN: 1592571727
Category : Fiction
Languages : en
Pages : 454

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Book Description
The trick for most first-time novelists is How do I tell my story? Well, look no further. In a reader-friendly, easy-to-understand style, CIG to Writing a Novel will cover in detail all of the elements necessary to create a great novel. Author Tom Monteleone illustrates how to create three-dimensional characters, write believable and colourful dialogue, pace the story, write effective transitions, and nail down the often tricky process of shifting points of view. He'll also explore such crucial concepts as style, structure, creating a setting, rewriting, and common mistakes first-time novelists make. He'll guide readers through the research process, distinguish between the many different genres of fiction to help them gear their work toward the best audience, and offer suggestions for time management and discipline - necessary tools for the would-be Courtenay in all of us.

Author: Tom Monteleone
Publisher: Penguin
ISBN: 1101198117
Category : Language Arts & Disciplines
Languages : en
Pages : 439

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Book Description
A completely updated guide for first-time novelists Completely revised to include new interviews with best-selling authors; more detailed information on writing genre fiction from paranormal romance to cozy mysteries; and everything a writer needs to know about self-publishing and ebooks to get started. The Complete Idiot's Guide® to Writing a Novel, Second Edition, is an indispensable reference on how to write and publish a first novel. • Expert author with over thirty published novels • Includes interviews with new best-selling novelists • Features new material on writing genre fiction and self-publishing

Author: Joanna Penn
Publisher: The Creative Penn
ISBN: 1915425085
Category : Language Arts & Disciplines
Languages : en
Pages : 213

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Book Description
Writing a novel will change your life. It might not be in the way that you expect, but when you hold your book in your hand and say, “I made this,” something will shift. The process of getting to that point will light a spark in your creative soul and help you discover unexpected aspects of yourself. It will be one of the things you are most proud of in your life. This book will help you get there. I’m Joanna (J.F.) Penn, award-nominated, New York Times and USA Today bestselling author of 18 novels and novellas with nearly a million books sold in over one hundred countries. This book will help you write your first novel, or improve your creative process so you can write more books and reach more readers. It covers mindset, ideas and research, aspects of craft, how to write a first draft, and work through an editing process to a finished book. You will discover: Part 1: First Principles - Why are you writing a novel? - What has stopped you from completing a novel before? - Principles to keep in mind as you create Part 2: Ideas, Research, Plotting, and Discovery Writing - How to find and capture ideas - How to research your novel and when to stop - Outlining (or plotting) - Discovery writing (or pantsing) - What are you writing? Genre - What are you writing? Short story, novella, or novel - What are you writing? Stand-alone, series, or serial Part 3: Aspects of a Novel - Story structure - Scenes and chapters - Character: Who is the story about? - Point of view - Dialogue - Plot: What happens in the story? - Conflict - Openings and endings - Setting and World-building: Where does the story happen? - Author voice - Theme - Book or story title - Language versus story and tools versus art Part 4: Writing the first draft - Attitude to the first draft - How to write the first draft - Dictate your book - Write fast, cycle through, or write slow - Writer’s block - Writing tools and software - When is the first draft finished? Part 5: The Editing Process - Overview of the editing process - Self-editing - How to find and work with a professional editor - Beta readers, specialist readers, and sensitivity readers - Editing tools and software - Lessons learned from editing my first novel after more than a decade - When is the book finished? Conclusion If you want to (finally) write your novel, then buy How to Write a Novel today.

Author: Anne Hart
Publisher: iUniverse
ISBN: 0595318665
Category : Authorship
Languages : en
Pages : 238

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Book Description
Learn to interview people of all ages and write their life stories, experiences, highlights, and turning points as events and rites of passages in plays, skits, and monologues. Write radio and Internet-broadcast plays and make videobiographies. Interview people, and write dramatizations for the high-school or older adult audience with performers of all ages. Write for radio, interactive education, multimedia, netcasting, and the stage, video or film...using excerpts from the life stories of real people, current events, social issues, and history. Learn to adapt and write multi-cultural, ethnic, and specific niche audience plays, skits, and monologues for the stage. Perform or write life stories from diaries and journals. Choose an audience--older adult, all ages, children, junior and senior high schools/teens, or college students. Then interview people and select excerpts from life stories or news to turn into plays, skits, monologues or videobiographies. Make time capsules or broadcast drama on the Web. Your playwriting skills now can use personal and oral history to develop powerful drama, motivate, and inspire memories. Perform the original three-act play, Coney Island, in this book or the monologue that follows. Write, adapt, or perform plays with multi-ethnic themes for a variety of audiences of all ages.

Author: John Charles
Publisher: American Library Association
ISBN: 9780838908112
Category : Language Arts & Disciplines
Languages : en
Pages : 244

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Three librarians from Scottsdale, Arizona provide library staff with an introduction to the mystery genre and offer tips and techniques for providing advice to mystery readers in the library. They include some of their own bibliographies, but refer readers elsewhere for fuller ones. They also include a brief history of the genre to pass on to readers new to it.

Author: Jack London
Publisher: BEYOND BOOKS HUB
ISBN:
Category : Fiction
Languages : en
Pages : 305

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Book Description
I hope the reader will forgive me for beginning this foreword with a brag. In truth, this yarn is a celebration. By its completion I celebrate my fortieth birthday, my fiftieth book, my sixteenth year in the writing game, and a new departure. “Hearts of Three” is a new departure. I have certainly never done anything like it before; I am pretty certain never to do anything like it again. And I haven’t the least bit of reticence in proclaiming my pride in having done it. And now, for the reader who likes action, I advise him to skip the rest of this brag and foreword, and plunge into the narrative, and tell me if it just doesn’t read along. For the more curious let me explain a bit further. With the rise of moving pictures into the overwhelmingly most popular form of amusement in the entire world, the stock of plots and stories in the world’s fiction fund began rapidly to be exhausted. In a year a single producing company, with a score of directors, is capable of filming the entire literary output of the entire lives of Shakespeare, Balzac, Dickens, Scott, Zola, Tolstoy, and of dozens of less voluminous writers. And since there are hundreds of moving pictures producing companies, it can be readily grasped how quickly they found themselves face to face with a shortage of the raw material of which moving pictures are fashioned. The film rights in all novels, short stories, and plays that were still covered by copyright, were bought or contracted for, while all similar raw material on which copyright had expired was being screened as swiftly as sailors on a placer beach would pick up nuggets. Thousands of scenario writers—literally tens of thousands, for no man, nor woman, nor child was too mean not to write scenarios—tens of thousands of scenario writers pirated through all literature (copyright or otherwise), and snatched the magazines hot from the press to steal any new scene or plot or story hit upon by their writing brethren. In passing, it is only fair to point out that, though only the other day, it was in the days ere scenario writers became respectable, in the days when they worked overtime for rough-neck directors for fifteen and twenty a week or freelanced their wares for from ten to twenty dollars per scenario and half the time were beaten out of the due payment, or had their stolen goods stolen from them by their equally graceless and shameless fellows who slaved by the week. But to-day, which is only a day since the other day, I know scenario writers who keep their three machines, their two chauffeurs, send their children to the most exclusive prep schools, and maintain an unwavering solvency. It was largely because of the shortage in raw material that scenario writers appreciated in value and esteem. They found themselves in demand, treated with respect, better remunerated, and, in return, expected to deliver a higher grade of commodity. One phase of this new quest for material was the attempt to enlist known authors in the work. But because a man had written a score of novels was no guarantee that he could write a good scenario. Quite to the contrary, it was quickly discovered that the surest guarantee of failure was a previous record of success in novel-writing. But the moving pictures producers were not to be denied. Division of labor was the thing. Allying themselves with powerful newspaper organisations, or, in the case of “Hearts of Three,” the very reverse, they had highly-skilled writers of scenario (who couldn’t write novels to save themselves) make scenarios, which, in turn, were translated into novels by novel-writers (who couldn’t, to save themselves, write scenarios). Comes now Mr. Charles Goddard to one, Jack London, saying: “The time, the place, and the men are met; the moving pictures producers, the newspapers, and the capital, are ready: let us get together.” And we got. Result: “Hearts of Three.” When I state that Mr. Goddard has been responsible for “The Perils of Pauline,” “The Exploits of Elaine,” “The Goddess,” the “Get Rich Quick Wallingford” series, etc., no question of his skilled fitness can be raised. Also, the name of the present heroine, Leoncia, is of his own devising. On the ranch, in the “Valley of the Moon,” he wrote his first several episodes. But he wrote faster than I, and was done with his fifteen episodes weeks ahead of me. Do not be misled by the word “episode.” The first episode covers three thousand feet of film. The succeeding fourteen episodes cover each two thousand feet of film. And each episode contains about ninety scenes, which makes a total of some thirteen hundred scenes. Nevertheless, we worked simultaneously at our respective tasks. I could not build for what was going to happen next or a dozen chapters away, because I did not know. Neither did Mr. Goddard know. The inevitable result was that “Hearts of Three” may not be very vertebrate, although it is certainly consecutive. Imagine my surprise, down here in Hawaii and toiling at the novelization of the tenth episode, to receive by mail from Mr. Goddard in New York the scenario of the fourteenth episode, and glancing therein, to find my hero married to the wrong woman!—and with only one more episode in which to get rid of the wrong woman and duly tie my hero up with the right and only woman. For all of which please see last chapter of fifteenth episode. Trust Mr. Goddard to show me how. For Mr. Goddard is the master of action and lord of speed. Action doesn’t bother him at all. “Register,” he calmly says in a film direction to the moving picture actor. Evidently the actor registers, for Mr. Goddard goes right on with more action. “Register grief,” he commands, or “sorrow,” or “anger,” or “melting sympathy,” or “homicidal intent,” or “suicidal tendency.” That’s all. It has to be all, or how else would he ever accomplish the whole thirteen hundred scenes? But imagine the poor devil of a me, who can’t utter the talismanic “register” but who must describe, and at some length inevitably, these moods and modes so airily created in passing by Mr. Goddard! Why, Dickens thought nothing of consuming a thousand words or so in describing and subtly characterizing the particular grief of a particular person. But Mr. Goddard says, “Register,” and the slaves of the camera obey. And action! I have written some novels of adventure in my time, but never, in all of the many of them, have I perpetrated a totality of action equal to what is contained in “Hearts of Three.” But I know, now, why moving pictures are popular. I know, now, why Messrs. “Barnes of New York” and “Potter of Texas” sold by the millions of copies. I know, now, why one stump speech of high-falutin’ is a more efficient vote-getter than a finest and highest act or thought of statesmanship. It has been an interesting experience, this novelization by me of Mr. Goddard’s scenario; and it has been instructive. It has given me high lights, foundation lines, cross-bearings, and illumination on my anciently founded sociological generalizations. I have come, by this adventure in writing, to understand the mass mind of the people more thoroughly than I thought I had understood it before, and to realize, more fully than ever, the graphic entertainment delivered by the demagogue who wins the vote of the mass out of his mastery of its mind. I should be surprised if this book does not have a large sale. (“Register surprise,” Mr. Goddard would say; or “Register large sale”). If this adventure of “Hearts of Three” be collaboration, I am transported by it. But alack!—I fear me Mr. Goddard must then be the one collaborator in a million. We have never had a word, an argument, nor a discussion. But then, I must be a jewel of a collaborator myself. Have I not, without whisper or whimper of complaint, let him “register” through fifteen episodes of scenario, through thirteen hundred scenes and thirty-one thousand feet of film, through one hundred and eleven thousand words of novelization? Just the same, having completed the task, I wish I’d never written it—for the reason that I’d like to read it myself to see if it reads along. I am curious to know. I am curious to know...FROM THE BOOKS.